Evening star. [volume] (Washington, D.C.) 1854-1972, 1887-12-17
IN A PARTISAN STUDIO.
The students, the Professor, and IN
MO0els,

| dents would allow him to do so-would nrst, says
| writer In the Pail Mall Gazette, be struck by
the camaraderfe that rules the whole institution
We read In Balzac and Paul de Kock OF the gaiety
OF the students quarter, though the streets round
ABOUT the rue de Cluny look triste and dreary
enough. In the atelier there Is plenty Of this
gaiety It is the gaiety of boys the day before the
breaking up, or OF sailors at their sports as the
snip crosses the line. A full atelier has about 60
students, small one about 30. For the real pur-
poses OF work the small are much the preferable.
NOT more than 30 can really draw from the same
as seventeen, others in the thirties and forties:
IneSe last viii remain pupils all their lives Seven
ies ssvs Inc aot.ed time OF apprenticeship but
lour would be the average
| The nouveau, when he joins, must expect good
scarcely think admirable, and may md inconye-
| nient In the old military novels we read of the
the These tcHs are WIN n us
dillon; IN the Paris atelier they still actuai-
ties There Is an etiquette which must be observed,
fender who has been sentenced ga rechelle" is
stripped 70 the waist and hung BY the arms tnot
M
admirable dexterity on his skin. Sometimes he is
covered with blue paint, and ordered, with mock
weeks hence to his judges Good 6umOr
on 1hs part q r., the victim atones tor
professor takes q look FOUND the atelier. As
three days work from the model. del In some
respects his visit Is practically worthless. In
the course OF 80 many hours sitting the
alterations Of the pose, such as can scarcely be
complained Of and yet make 1t less irksome
action has settled down. The pupils, there
fore, who have been most accurate in their
craving on the first day win be most corrected
knows this; it has been his own student ex-
81 Light ,S and
value, because these do not alter as the model
Most Of the Paris modelsare foreigners, Italians
| forming the majority. For the purposes or the
student ateler, the career Of q female model sell
aom exceeds three seasons. In that lapse Of time
the more attractive ones have become recognized,
| and have been engaged by wealthy artists who
can give high prices, while competition supplants
rustic cottage, often has an artistic value far In
excess OF her personal attraction TO uneducated
eye. Her face suggests rather than presents
painter more often than a subject for the phOSOg-
rapher 1t is the paintable rather than the pretty
face that becomes the favorfte in the end. Curl.
| 0usly enough, this Is nowhere more Immediately
recognized than among the students OF an ateller.
Many OF the models who have sat for the most tax
best old male model-the Pere Koeth, AN Ideal gure
OF ChrOnos-hasJ just died, after being model for
seventy years. It was one Of his favorite remarks
| tnat on given day (n0t long paSt) he would have
been seventy years in the profession and was only
beginning to understand his art He never crit.
Of his BRETHREN nor could he be induced to discuss
either painters or revolutions, OF both OF which
mao seen many: He was, however, great author
law; and this he did impartially whether Bon
mats, Cabanals, Duran's, or the more recent
atelier Of Cormon had the benent OF his presence.
| THIS OLD man, who so accurately reSembled Time.
and had 80 often sat for his portrait, was kind Of
| successor 10 the Pere Sinel favOrite model 10
| 1ngres and Flandrin. Sinel also sat many times
| en- capucin for Delaroche.
In Paris the republicaniSm OF art makes the re-
laton Of model and artist closer than it would be
foucault at about O'Clock win tnd 1t a favorite
rendezvous OF the artists OF the MOntmartre quar-
| ter. Here, too, come the models when their days
work Is done and here they meet their friends and
seek re-engagements Ger0me has dined at this
humble restaurant and all the tenants OF the we'll
known villa des Arts. II is amusing TO hear the
| models chstterng together, commenting on the
paintings in which they figure as II these canvases
were their own work, and speaking OF their
complacency. The model enters SO largely into
the work OF an artist that what the public regards
as mannerism is sometimes only the painters in.
Of Romney and Lady Hamilton win at once sug-
gest itself to the reader; and there are two
2b painters perhaps the most popular
far more characteristic Of England than of France
| dhu 10 doSCHCC ID Ouo VI VIC Supcf1OflCleS Oh
| French art over our own. In the French studio
models are used In segments, so to speak-fOr the
hair, the nose. the arm, the leg, as the case may
| 0e-a special purpose at the outset directing the
| choice. One OF the pleaSantest traditions Of the
atelier is the story OF the well-known model DE
Trola an Italian OF the "Greek god" type. He was
| sitting to young artist who was full Of promise
but very poor. AT last the sitttngs could nc
longer be paid for, though the work remained in.
| complete. On hearing this, De Troia passed In q
| moment from model TO critic, said he had faith liz
the work. and continued his sfttings on terms
which he himself proposed. II 1t failed he lost his
money; II 1t succeeded, he was to be paid The
student finished the group. 1t took medal at the
Salon, and was sold at high price.